Considering how much time people spend in effects, it is important that with A be well designed. Well-designed office spaces help create a corporation's image. They motivate workers and they make an impression on people who visit and might be potential, or {#blank#}1{#/blank#} , customers. They make business work better, and they are a part of the corporate culture to live in.

As we move away from an industrial-based economy to a knowledge-based one, office designers come up with {#blank#}2{#/blank#} to the traditional work environments of the past. The design industry has moved away from a fixed office setup and created more flexible “strategic management environments.” These {#blank#}3{#/blank#} solutions are meant to support better organizational performance.

    As employee hierarchies （等级制度）have flattened or decreased, office designers' response to this change has been to move open-plan areas to more desirable locations within the office and create fewer formal private offices. The need for increased flexibility has also been {#blank#}4{#/blank#} by changes in workstation design. Office and work spaces often are not {#blank#}5{#/blank#} to a given person on a permanent basis. Because of changes to methods of working, new design allow for expansion or movement of desks, storage, and equipment within the workplace. Another important design goal is communication, which designers have improved by breaking the walls that {#blank#}6{#/blank#} workstations. Designers have also created informal gathering places and upgraded employees'{#blank#}7{#/blank#} to heavily trafficked areas such as copy and coffee rooms.

Corporate and institutional office designers often struggle to resolve a number of competing and often {#blank#}8{#/blank#} demands, including budgetary limits, employees hierarchies and technological innovation (especially in relation to computerization). These demands must also be balanced with the need to create interiors (内饰) that in some way enhance, establish or possess a company's image and will enable employees to {#blank#}9{#/blank#} and their best.

    All these {#blank#}10{#/blank#} of office design are related. The most successful office designs are like good marriage—the well-designed office and the employees that occupy it are seemingly made for each other.

    The human body can tolerate only a small range of temperature, especially when the person is engaged in vigorous activity. Heat {#blank#}1{#/blank#} usually occur when large amounts of water and/or salt are lost through oversweating following exhausting exercise. When the body becomes overheated and cannot {#blank#}2{#/blank#} this overheatedness, heat exhaustion and heat stroke are possible.

    Heat exhaustion is generally {#blank#}3{#/blank#} by sweaty skin, tiredness, sickness, dizziness, plentiful sweating, and sometimes fainting, resulting from a(n) {#blank#}4{#/blank#} intake of water and the loss of fluids.  First aid treatment for this condition includes having the victim lie down, {#blank#}5{#/blank#} the feet 8 to 12 inches, applying cool, wet cloths to the skin, and giving the victim sips of salt water (1 teaspoon per glass, half a glass every 15 minutes) over a 1-hour period.

    Heat stroke is much more serious; it is a(n) {#blank#}6{#/blank#} life-threatening situation. The characteristics of heat stroke are a high body temperature (which may reach 106° F or more); a rapid pulse; hot, dry skin; and a blocked sweating {#blank#}7{#/blank#}. Victims of this condition may be unconscious, and first-aid measures should be {#blank#}8{#/blank#} at quickly cooling the body. The victim should be placed in a tub of cold water or {#blank#}9{#/blank#} sponged with cool water until his or her temperature is sufficiently lowered. Fans or air conditioners will also help with the cooling {#blank#}10{#/blank#}. Care should be taken, however, not to over-chill the victim once the temperature is below 102° F.

The Nile

    The ancient Greek writer Herodotus once described Egypt-with some envy-as'the gift of the Nile'. The Egyptians depend on the river for food, for water and for life. The Ancient Egyptians were able to control and use the Nile, creating the earliest irrigation systems and developing a prosperous {#blank#}1{#/blank#}.

    Snaking through the deserts, the Nile would flood almost {#blank#}2{#/blank#} each year in June. Once the water subsided, a rich deposit of sand was left behind, making an excellent topaoil. Seeds were sown, yielding wheat, barley, beans, lentils and leeks. Drought could spell disaster for the Egyptians, so during the dry seasons, they dug basins and channels to deliver water to their land. They also devised simple channels to transfer water at the peak of the flood.

    An early system of {#blank#}3{#/blank#} a Nilometer, was used to de determine the size of the floods. Later, during the New Kingdom, a lifting system called a shaduf was used to raise water from the river--{#blank#}4{#/blank#} to the way in which a well is used today.

    The Egyptians took up some of the earliest trading missions. Without a(n) {#blank#}5{#/blank#} system they exchanged goods, bringing back timber, precious stones, pottery, spices and animals. Their efforts in medicine were also {#blank#}6{#/blank#} advanced: surgeons performed operations to remove cysts(囊肿). Mummification gave them great understanding of the human body-yet they also relied heavily on various medicines to prevent disease, and discoveries were often confused with superstition(迷信). And while a great deal of time was dedicated to {#blank#}7{#/blank#} the Egyptians thought the stars were gods.

    By the 16th century Egypt was under the Ottoman Empire until Britain seized control in 1882. What is now mostly Arabic Egypt only won {#blank#}8{#/blank#} from Britain after World War Ⅱ. The Suez Canal, opened in 1869, {#blank#}9{#/blank#}the country as a center for world transportation. But it, and the completion of the Aswan High Dam in 1971 {#blank#}10{#/blank#} the ecology of the Nile, which now struggles to satisfy the country's rapidly growing population, currently more than 76 million-the largest in the Arab world.

    Directions: Complete the following passage by using the words in the box. Each word can only be used once. Note that there is one word more than you need.

    The Smithsonian's National Portrait Gallery was preparing the wall text in 2014 to accompany an image of the boxer Mayweather Jr. During the process, the Washington museum decided to note that Mr. Mayweather had been“charged with domestic violence on several occasions,” receiving “punishments ranging from community service to jail time.”

    Such context is common for {#blank#}1{#/blank#} subjects in art, but far less so for artists themselves. Men like Picasso or Schiele were known for mistreating women, but their works hang in {#blank#}2{#/blank#} museums without any asterisks（星号）.

    Now, museums around the world are{#blank#}3{#/blank#} with the implications of a decision, by the National Gallery of Art in Washington, to {#blank#}4{#/blank#} postpone a Chuck Close exhibition because of {#blank#}5{#/blank#} of sexual harassment（骚扰）involving potential portrait models that have involved the artist in controversy. Mr. Cloze has called the allegations “lies” and said he is “being severely criticized.”

    The {#blank#}6{#/blank#} has raised difficult questions about what to do with the paintings and photographs of Mr. close—held by museums like the Metropolitan Museum of Art in New York, the Tate in London and the Pompidou in Paris, as well as by high-spending collectors—and whether the work of other artists accused of questionable {#blank#}7{#/blank#} needs to be revisited.

    It is a provocative（引起争论的）moment for the art world, as the public debate about {#blank#}8{#/blank#} creative output from personal behavior moves from popular culture into the realm of major visual artists from different eras and the institutions that have long collected and exhibited their pieces.

“We're very used to having to defend people in the collection, but it's always been for the sitter” rather than the artist, said Kim Sajet, director of the Portrait Gallery, which has a large body of Mr. Close's work. “Now we have to think to ourselves, ‘Do we need to do that about Chuck Close?'”

    “You can't talk about portraiture in America without talking about Chuck Close,” she added. “There are lots of amazing artists who have been less than admirable people.”

    Whatever museums {#blank#}9{#/blank#} decide to do about Mr. Close, some say they can no longer afford to simply present art without {#blank#}10{#/blank#} the issues that surround the artist—that institutions must play a more active role in educating the public about the human beings behind the work.